Cynthia Cruz considers class privilege and social distance in her explication of the film “The Souvenir”
Author: degreecritical1
The Aerial Muse & Maine’s Fallow Fields of History
Lune Ames explores indigenous history in Yvonne Jacquette’s “Little River Farm”
Dispatch From Thailand: Temporal Topographies at the MAIIAM, Chiang Mai
David Willis considers MAIIAM Contemporary Art Museum’s new acquisitions
Joan Jonas’s “Moving Off the Land II” at Ocean Space in Venice
Monika Fabijanska considers feminism and the role of the artist in Joan Jonas’s “Moving Off the Land II” at Ocean Space in Venice
Howardena Pindell: Autobiography at Garth Greenan Gallery
Sahar Khraibani reviews “Howardena Pindell: Autobiography” at Garth Greenan Gallery
Encountering the Medium: A Few Lessons from James Turrell’s “Shanta II (blue)”
Lucija Furac considers perception and objecthood in James Turrell’s “Shanta II (blue)”
Fallback Friday: Good Times
Degree Critical remembers Emma Drew’s review of “I hear it everywhere I go” at Franklin Street Works
Working Through: the Drawings of Eva Hesse
Cynthia Cruz considers the drawings of Eva Hesse at Hauser & Wirth
Dispatch from Vietnam: Richard Streitmatter-Tran in conversation with David Willis
Dispatch from Vietnam: Richard Streitmatter-Tran in conversation with David Willis
The Oceanic Drift of Writing: Author Kaitlyn A. Kramer in Conversation with Jessica Holmes
Jessica Holmes interviews author Kaitlyn A. Kramer on her new book, “Very Like a Whale”
Phenomenal Nature: Mrinalini Mukherjee at the Met Breuer
Sahar Khraibani reviews “Phenomenal Nature: Mrinalini Mukherjee” at the Met Breuer
The Geist in William Gedney’s Kentucky Photographs
Cynthia Cruz writes about libidinal energy in the Kentucky photographs of William Gedney
